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November 11, 1983 - Image 18

Resource type:
Text
Publication:
The Michigan Daily, 1983-11-11
Note:
This is a tabloid page

Disclaimer: Computer generated plain text may have errors. Read more about this.

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Sax du
monde
The World Saxaphone Quartet
Eclipse Jazz
Rackham
8 p.m., Saturday, November 12

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By C. . Krell
W ITHOUT SOUND Quickening
amplification. Will Someone
Queue? Well Steven Quietly. W.S.Q.
WSQ. Rackham Auditorium, 8 p.m.
November 12. World Saxophone Quar-
tet. David Murray, saxophone. Oliver
Lake, saxophone. Julius Hemphill,
saxophone. Hamiet Bluiett saxophone.
Saxophones, men, audience. Whipping
Sound Quorum.-
What happens when four Surely
aware and Qualified men who, without
ever stepping anywhere near each
other, would still blow great bombs of
curved and sexy space into vinyl. And
do. All of the members of the World
Saxophone Quartet have their own
quite private careers, dedications,
visions, mouths; they make records on
their own with other luminaries and
dignitaries and fairies of the jazz age
that we live in. But forget it, it is impor-
tant in this contextual mass to take
them at their face, or rather, letter
value, so that is what will be done. Let-
ter value.
W. W stands for World. It's obvious
that the World Saxophone Quartet can-
not speak for or to an entire world, at
least not all at once. But World in the
sense that little corners of their ghetto
streets and bars and Serengeti plain and

The World Saxophone Quartet: Four play

Vienna concert halls. A piece of Man,
capital M, which in half a sense makes
no sense, but the name says World.
Representing humans far and near to
spread fear, fear, to jeer steer.
Humans. World.
S: S stands for Saxophone. Metal
tubes with valve disease. Reeds and
Deeds. Mouths touching earth and spit-
ting globs and flicks and whispers of
sky. Pressure drop through fingers and
minds and hearts and souls and guts
and all those things that make up every,
single stupid saying that has ever been
written only in this case it's played on
an instrument. Someone once said that

every great statement, or all the
greatest statements, or at least
something real neat has been said by
black men on saxophones. S stands for
saxophone.
Q: Q stands for Quartet. Now, as has
been mentioned, all the members of
this quartet have their own little groups
and orchestras and session and
sometimes they play together, or by
themselves. Yet even so, it might seem
to the chicken-hearted that four
saxophones, no matter how neat, do not
a group, at least a together one, make.
Wrong.
Through the course of a bunch o'

albums, the Quartet has demonstrated
an ability to ascend orchestral spreads
and walls of sounds and rhythm and
beat and harmonymelodycounterpoint
andcontrapuntal and you can hum the
tunes. The Quartet sing in unison or solo
apart or break together. Lots of fun
things on four huge saxophones and
that's it.
Only words though. Better yet to go to
Rackham and see and hear and see.
Again, the only volume to be heard will
be lungular; microphones will not be
used. c,

a
Frye: Appeases protesters
lunch, this Monday is no exception.
He is saved from starvation by one
associate who anticipated the problem
and purchased a hamburger and fries
at the Union for him. But before he gets
two bites into his hamberger or two
minutes into the meeting, about 40 ac-
tivist students file into the office lobby
singing a localized version of "If he
only had a brain," from the movie, The
Wizard of Oz.
"Oh, it's Billy Frye's solution/to
stage an execution/and chop the 'U'
apart/But, he could make his mind
up/to become a little kinder/if he only
had a heart."
Frye at first reacts by shutting the
conference room door and trying to
continue the staff meeting. But after
milling around the office for several
minutes with signs protesting budget
cuts, the students knock on the office
door.
This is not the first time he has met
these students. Last spring, when the
fear of budget cuts was running higher,
the same group dropped in for lunch
and stayed the night to protest the
University's five-year plan.
Tempers ran a bit higher then. The
5-year plan: A pain in the back

says L
much i
by cor
'make i
then s
proced
delays.
of those
Ever
hardest
have 1
arguin
public,
"Not
says A
"but It
been r
these r
BAC
mi
Univer
part of
athleti
known
souther
misses
"I w
was ve
Michig
become
but for
of The 1
to be tl
desire I
even tf
soever
Ther
it is on
accordi
fighting
counts
"Des
arise,"
one yea
help y
spectiv
therefo
the Uni
are or
Univer
the inte
times v
Spi
editot

-n
a
I
C
3

Cello
pudding
Mstislav Rostroprovich
University Musical Society
Hill Auditorium
8:00 p.m., Wednesday, November 16
By Robin Jones
'' 0 BE ONE of the world's greatest
and most loved cellists is not an
easy job. Getting to hear one of the
world's greatest and most loved cellists
perform is not always easy, either.
Fortunately for Ann Arbor audiences,
the Unversity Musical Society has
conquered this problem by presenting
cellist Mstislav Rostroprovich, in con-
cert, Wednesday evening at Hill
Auditorium.
Rostropovich, or "Slava," has an im-
pressive history. He began his study of
the cello at age eight with his father at
the Children's Music School in Moscow.
Rostropovich continued at the Moscow
Conservatory, where he studied both'
cello and composition under several
well-known, composers, including
Shostakovich.Fe participated in three
major international competitions

where he received first prize - Prague
(twice) and Budapest.
Rostropovich first concertized out-
side the Soviet Union in 1947, and since
that time has appeared in recital and
with leading orchestras throughout the
world. In Russia he was awarded the
Lenin and Stalin Prizes, and the
nation's highest honor, the People's Ar-
tist of the U.S.S.R. The government has
yet to rescind the latter prize even
though it stripped Rostropovich and
his wife of their citizenships in 1978.
Maestro Rostropovich made his
United States conducting debut with the.
National Symphony in 1975, and h s led
such famed orchestras as the Chicago
Symphony, London Philharmonic, and
Berlin Philharmonic. Rostropovich
conducted his first opera in the United
States in the fall of 1975 at the San
Francisco Opera. His wife, soprano
Galina Vishnevskaya, was lead.
Rostropovich now devotes almost all
of his time and energy to the National
Symphony Orchestra in Washington.
He acts as the symphony's musical
director. The Orchestra has received
critical acclaim in recent years. It has
been compared to some of the world's
best orchestras, especially in its treat-
ment of Russian symphonic literature
that Rostropovich knows so well.
Wednesday's concert will open with
Adagio by Benedetto Marcello,
variations on "Ein Madchen oder
Weibchen," from Die Zauberflote, Op.
See CELLO, Page 6

students were a touch belligerent, and
Frye a bit shaken by the adamance of
their opposition to his plan. But he
seems to have gotten to know them
then, because things go rather
smoothly today.
Almost as if they were invited he
welcomes them, and proceeds to field
questions for twenty minutes. Satisfied
at least for the moment, the students
politely thank him and file out of the of-
fice.
These students are not the only ones
who have complaints about the budget
cutting process. Last spring, when the
three largest budget reviews were
reaching their final stages Frye found
himself at the center of a whole storm
of controversy.
While working 14 hour days to keep
the review going, he found the very
foundations of his academic and
scholarly values being questioned. He
was accused of being a scheming
vureaucrat, of being manipulative, and
of concealing important information.
One high level administrator, who
would only talk if his name was
withheld, speaks of a "comfortable
level" of responsibility and control
which Frye demands in every decision.
"He is a person who doesn't delegate
authority. He sometimes delegates
tasks, but rarely ever authority . .
When you see this kind of pattern, it is a
difficult judgment as to whether it
arises from someone who wants
responsibility or needs to have that con-
trol."
"It's not difficult for me to see how
people see him as manipulative. He has
an ability to handle himself with a
sureness and purposefulness that
people walk away with a feeling that
there must be some huge planning in-
frastructure behind it - but that is the
farthest thing from the truth. What you
have is little planning and crisis
behavior."
Those who work closest with Frye,
however, defend him vigerously. This is
an unfair view says Richard Kennedy,
the University vice president for state
relations.
"There are those who believe there is
some Machiavellian intent behind the
things we are doing, that we run around
making all those decisions without
telling people, that we just create a
public charade to justify the things we

have already decided on," he says.
"But Billy Frye has worried about
doing just the opposite more than
anyone. I don't know who has worked
harder and agonized more over the out-
come of this process. I don't know who.
has been more honest and more fair in
trying to reach a concensus, and I don't
know if concensus is possible when you are
cutting budgets."
Many people close to Frye, both those
who were involved in budget cut and
those who weren't, say the problems
with the budget process came from the
other direction: Too much publicity, too
much open debate, too many attempts
to reach consensus in a situation where
a concensus will never exist.
"Vice President Frye, in contrast to
me, likes to talk things out and see if we
can come to some sort of a solution,"

MsUsav Kostroprovich: "Slava" to his friends

Billy: Where's my skunk?

&WeOo !t!/ =mbes14 4083

MM

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